
Diletta Leotta almost upstages Carlos Alcaraz as DAZN presenter spills out of white dress in epic French Open final
DILETTA LEOTTA stole the show at Roland Garros - as Carlos Alcarez made history on court.
The Italian presenter rocked a stunning look during her work for DAZN at the French Open.
20
20
20
20
Alcarez beat Jannik Sinner in a five-set epic which lasted over five hours.
But it was fan favourite Diletta who was turning heads with her sophisticated finals outfit.
The 33-year-old rocked a gorgeous fitted white blazer as temperatures soared in Paris.
She paired it with a small tennis-style white skirt, winning hearts among her 9 million-strong Instagram fanbase.
Diletta uploaded a clip of her preparing for the finale on Philippe-Chatrier Court.
She dazzled in a dressing gown before taking to the stands in the French capital.
One fan gasped in response: "How cute is this outfit, you look great."
Another lovestruck follower added: "Blessed is that dressing gown."
While a third replied: "The Sicilian Barbie."
Alcaraz produced one of the all-time great comebacks to secure a second French Open crown.
Diletta Leotta shows off new 'Bond girl' look as DAZN host puts on revealing display in low cut ski suit
The Spaniard survived three Championship points in the fourth set to somehow beat Sinner at Roland Garros.
Alcarez won the five-set thriller after five hours and 29 minutes.
He becomes only the third man to win a major final after saving a championship point since the Open era began in 1968.
Following his epic win, Alcaraz admitted: "Every match I'm playing against him is important.
20
"This is the first match in a Grand Slam final.
"Hopefully not the last because every time we face each other, we raise our level to the top.
"If you want to win Grand Slams, you have to beat the best tennis players in the world."
A glimpse inside Diletta's glamorous life with football partner Loris Karius...
20
20
20
20
20
20
20
20
20
20
20
20
20
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Rhyl Journal
23 minutes ago
- Rhyl Journal
Carlos Alcaraz-Jannik Sinner rivalry is amazing for tennis
Alcaraz and Sinner, the world's top two players, contested their first grand slam final at the French Open – and it was an all-time classic. Second seed Alcaraz came out on top after a five-hour, 29-minute marathon, the 22-year-old saving three championship points in the fourth set and winning after a tie-break in the fifth. It was Alcaraz's second Roland Garros title, his fifth at grand slams, and means he and Italian world number one Sinner have shared the last six majors. Anyone who feared men's tennis would struggle to fill the void left by the retirements of Rafael Nadal, Roger Federer and – in the not-too-distant future – Novak Djokovic, can rest easy. 'For the sport it's something amazing to have these players after Roger and Rafa – and Novak is still playing, of course – but this kind of rivalry that they have,' said former world number one Ferrero. 'Having these two guys fighting for big trophies, I think we have to be very happy about it in the sport of tennis. 'For them, for sure it's something that they raise their level every time that they go on the court. 'They know they have to play unbelievable tennis to beat the other guy and it's something that is going to help for sure each player to raise the level even more.' Curiously, Alcaraz won major title number five at exactly the same age as his idol Nadal was when he won his fifth, in 2008 at Wimbledon; 22 years, one month and three days. Nadal, of course, went on to collect 22 grand slam crowns including 14 at Roland Garros, and was honoured at this year's tournament following his retirement. Legacy 👑 #RolandGarros — Roland-Garros (@rolandgarros) June 8, 2025 The coincidence was not lost on Ferrero, although he was keen to avoid too many comparisons between his fellow Spaniards. 'I think it's amazing,' added Ferrero. 'The same grand slams at the same age at the same day, it's something that looks unreal. 'It's something very curious. But we don't think too much about it. We try to write his own way.'


The Sun
27 minutes ago
- The Sun
‘I can't believe they showed that again' – ITV commentator stunned by Cristiano Ronaldo banner at Nations League final
ITV commentators were left stunned after seeing a banner directed at Cristiano Ronaldo at the Nations League final. Portugal claimed their second Nations League crown after beating Spain on penalties on Sunday evening. 3 3 3 But it was a supporter's banner in the stands that caught the attention of ITV commentators Sam Hutchinson and Andros Townsend. In the 87th minute, when Ronaldo went down injured, the cameras panned to the crowd and caught the sign. A Portugal fan could be seen holding up a banner that read "Cristiano, please let me touch you." The suggestive sign was spotted by the commentators, leaving them stunned. Hutchinson said: "Oh my gosh." Which prompted the former Premier League star to say: "I can't believe they showed that again." Hutchinson replied: "I think we know why." Townsend then joked: "The director has a very innocent mind". The sign clearly left an impression on Hutchinson as a couple of minutes later, it was still on his mind. He added: "I am still laughing at that sign." Despite being subbed off injured, Ronaldo still played his part in the final as he netted the crucial equaliser in the second half. Portugal had already come from behind once in the game as Nuno Mendes cancelled out Martin Zubimendi's opener. After the match, Ronaldo also revealed that he would be staying at Saudi club Al-Nassr amid links of an exit. Ronaldo joined the Saudi side in 2023 and has been the Pro League's top scorer for the past two seasons. Meanwhile, the final was overshadowed by the tragic death of a fan in the stands.


The Guardian
29 minutes ago
- The Guardian
Poem of the week: Hermes by Gabriele Tinti
Hermes by Gabriele Tinti What you were waiting for has gone. You are sad and unable to separate yourself from the earth. You are tired of living as you live and know you will not go home tomorrow. Let yourself be accompanied — the course of the day is at its end, the road is clad in mist. The knife cleaves the night, wounds the moon, patiently sharpens the distant ruins. The throats of the world open wide, they hungrily await beyond the clouds. Gabriele Tinti's recent collection, Ruins, assembles his ekphrastic poems, short essays by various hands, and photographs of the pantheon of Graeco-Roman statuary. Hermes is from Part II, The Nostalgia of the Poet, a title that may remind readers of Georgio de Chirico, the artist featured on our previous visit to Gabriele Tinti's work. In the photo accompanying Ruins, the angle of the Seated Hermes is turned a little more directly towards the viewer than the above image of the same bronze sculpture. The figure's face expresses a mood not usually associated with this most mercurial of the gods. Hermes' mouth is slightly slack, the eyes downcast, looking at nothing. Seated on a boulder, his left hand hanging loosely, empty of the caduceus, the magical staff it often held, the god wears his winged sandals but looks unprepared for lift-off. He seems to have abandoned, or to have been abandoned by, his genius for effortless flight. The poem understands his predicament immediately as that of the disinherited poet. In a note, Tinti explains that it was Hermes, not Apollo, who was the 'first poet of myth'. In the poem, he addresses not only Hermes, perhaps, but his own poetic persona: 'What you were waiting for has gone / You are sad and unable to separate yourself // from the earth. You are tired of living as you live / and know you will not go home tomorrow.' The mythical Hermes was as worldly as he was otherworldly, a god of 'boundaries, roads, travellers, merchants, thieves, athletes, shepherds, commerce, speed, cunning, language, oratory, wit and messages', as Wikipedia explains it. Tinti's focus dismantles in a few characteristically epigrammatic strokes these variegated possibilities. It closes the very road in front of him with mist and nightfall, shifting briefly from couplet to tercet in a movement that reflects the god's difficulty rather than an expanded opportunity. The word 'accompanied' in the tercet's first line carries the weight of significant loss. It suggests that the debilitated, flightless poet is in need of a companion, a psychopomp like Hermes, to guide his soul into the Underworld – for poets, the dream-life of the unconscious. It also suggests the musical term, 'accompaniment' – the instrumental companion of the voice. The accompanist affirms and sometimes guides the solidities of tonality and tempo that can be more freely interpreted by the vocalist. Hermes, the originator of the lyre, is a virtuoso double-performer, a singer who once provided his own magical accompaniment. Hermes, I think, is identified by Tinti with the wholeness of lyric poetry, and the subsequent loss of that wholeness. The god, while still an infant, had made the first lyre from a tortoise shell and the knifed-out guts of one of the cattle he had stolen from his brother Apollo. (It was Apollo who, enraged, gave him his title as the leader of thieves and general nocturnal roguery.) Later, at the insistence of the boys' father, Zeus, Hermes agreed to hand his lyre over to Apollo in recompense. Apollo subsequently gave the lyre to his son, Orpheus. 'Its sound exuded serenity, love, and sweet sleep,' Tinti writes, 'and, unlike the flute, it could accompany the human voice.' So the lyre passed to Orpheus, but he, for all the wonders his accompanied singing could effect, was unable finally to liberate Eurydice from the underworld. Ultimately, Zeus would take the lyre beyond reach of human hands and place it among the constellations, as Lyra. In the poem, however, vulgarisation and destruction rather than elevation await the lyre: it's merely 'the throats of the world' that 'open wide, / they hungrily await beyond the clouds'. This indicates the severity of the decline Tinti sees in the authority of the contemporary poet. The knife Hermes has wielded, bloodily but transformingly, in making the lyre's sound-box and strings, 'cleaves the night, wounds the moon, / patiently sharpens the distant ruins'. In that last image, 'ruins' are symbols of nostalgia, the longing of the poet for home among poetry's ancient presences. Makers and muses are far from being the only inhabitants of Tinti's rich pantheon, but they are a significant part of it, and related integrally with the question he poses regarding the interception by Zeus of Orpheus's lyre: 'Was this the end of poetry? We cannot say. But our own plucking of the strings is now only a nostalgic pursuit of that distant trace left by the gods, by the first legendary poets.' His further thoughts on poetry's loss of the capacity for 'singing tragically' may be investigated in an interview here. Gabriele Tinti is an Italian poet and translator. His recent publications in addition to Ruins are Bleedings, Confessions and Hungry Ghosts.